FEATURE: Bands on the Run: Is Mainstream Music Becoming a Solo Market?

FEATURE:

 

Bands on the Run:

 

 

Is Mainstream Music Becoming a Solo Market?

________

AS I continue my feature about the best albums of…

IN THIS PHOTO: The Amazons/PHOTO CREDIT: Matt Goff

this year; I am noticing one thing: none of them is created by bands. Well, one of them is a duo but, in terms of numbers – and the finest records of this year – one hardly gets past the three-piece. Look at the critical consensus and there is the proliferation of solo artists on their minds. Kendrick Lamar, Lorde and Ed Sheeran (whether you like him or not); Laura Marling, Stormzy and Waxahatchee – throw in The Is the Kit and Kehlani for good measure! None of these acts needs another voice to get their songs out to the public. As a flip-side to the great albums of this year: some of the biggest disappointments have been from bands. London Grammar are, to be fair, a trio but have left many cold with their second album, Truth Is a Beautiful Thing. Same goes with Royal Blood (a duo) but I am finding those mediocre albums – as determined by critics – are not being produced by solo artists, by and large. Imagine Dragons’ Evolve and The Amazons’ eponymous album have not registered big reactions. TLC, Linkin Park and Maximo Park have created less-than-wonderful albums. Maybe it is a funny year but I am finding few bands/duos/trios creating year-defining records. The xx are, perhaps, the only band (a trio, technically) who have made any sort of statement this year. It is a singles-game in terms of the most promising albums. One can quibble with a few names here and there. Fleet Foxes’ Crack Up is by a band but I see the album as a solo vehicle for Robin Pecknold – he writes the songs and dominates throughout. Let me back up and bring in some examples. The reason I have put Amazons as my thumbnail/featured photo is because they represented the resurgence/hope in new guitar bands. When I heard their single, Little Something, I was so excited by the Reading band and what their debut album would contain. Aside from having a stunning and vivid front cover – check it out – and some excellent, memorable song titles – the substance of the songs was a little lacking. Too many tracks geared towards the festival crowds and the audiences they graced/still do – the sweating throngs on the 'toilet circuit'. Many would argue that is what a guitar band should be about but there is little variation in terms of the music, themes and sounds. In forging their own sound; The Amazons have slipped into the realms of the generic and forgettable.

IN THIS PHOTO: Royal Blood/PHOTO CREDIT: Matt Davies

The same could be said of Royal Blood. The Brighton duo had my positively wet – expunge that image if you can@ – when they announced (finally!) their sophomore album, How Did We Get So Dark? Following an eternal gap from their debut; the only thing that has changed in the years since is a few touches here and there – Pop backing vocals and some wider lyrical concerns. The sound has rigidly remained the same: pummelled percussion and meaty, loud-as-an-atom-bomb bass. It is as though the best Rock artists are writing music to blast the masses into next week. It is the rugged working-class and the honest, raw Rock – well, that is what we DO need. There is something too clinical and ‘safe’ about so many of this year’s band-made Rock records. For every promising newcomer like Cabbage – they divide opinion but seem more promising – there are mainstream artists who seem more intent on writing songs for the radio than genuinely trying to progress Rock and Indie music. The legendary artists/bands of the past endured and impressed because they did something genuinely fresh and exciting. Even if they had an established career; one noticed a step forward between albums – new sounds and ideas. Royal Blood, Maximo Park; Imagine Dragons, The Flaming Lips and the likes – they seem to have lost their original promise and purpose. Whether I can turn this semi-rant into a cogent and cohesive piece is to be seen but there is method and logic in the argument. How many mainstream band-created albums can you name that you are hooked by?! There might be one or two but I am betting most of your favourites (from this year) have been made by solo artists – maybe a duo at a push. Perhaps there is no real reason other than the fact the most promising bands are not at mainstream level. A great deal of the poll-makers are recommending solo artists as their tips for success – is this deterring bands and creating a fallacy?! In the past, it was assumed bands ruled the roost.

IN THIS PHOTO: Foo Fighters

Look at the festival bills and one assumes Foo Fighters, Muse and Radiohead are what the public wants. The trouble is, they are older acts and, aside from Radiohead, the others have not released a new album for a while. Foo Fighters have announced Concrete and Gold (terrible title) and, if Run is anything to go by, it might be okay – their last album was a struggle to get through to; it is a bit iffy. Muse released Drones in 2015 and that was not overly-well-received. Coldplay, another big festival act, are not swimming in classic albums: one has to look lower down the list of festival names to discover truly worthy bands. If Rock, or mainstream at least, is showing a regressive attitude; it appears the underground are showing more intrigue. I shall come to them but want to present the flip-side to my slagheap of criticism. I do not write this piece to shame and scold the so-called ‘best’ bands around. In fact, two of the most promising releases of the year are going to be from bands. If the digitally-produced simians of Gorillaz didn’t live up the hype surrounding their album, Humanz (too many Zs, Damo!) then Arcade Fire surely will! The Canadian band has released singles from their forthcoming album, Everything Now (out on 28th of this month). The title track has delirious, kooky panpipes; Electric Blue – the latest revelation – sports some of their strongest performances for years – Creature Comfort and Signs of Life are terrific tunes. They look set to top Reflektor – an album that, rarely for them, was not met with universal acclaim. Everything Now seems like it will be the veritable dog’s wotsits! Similarly, responding to a four-year gap after Like Clockwork…, Josh Homme’s acolytes have teased new slice-of-cool, The Way You Used to Do. Villains is out on 25th August but the first single from that record brings in sounds of Swing and crooning legends; gilded to a stone-cold Rock swagger – the results are exhilarating and turbo-charged. It is a snarling, canine slice of dance that promises much gold from the Californian band. I am already waxing my knees from all the dancing I am going to do when the album arrives.

It seems like Queens of the Stone Age are one of the bands who, despite the fact they have been in the game a couple of decades, are capable of consistency, innovation and malleability. THAT is what the likes of The Amazons, Royal Blood and Imagine Dragons could learn from. Queens’ could easily produce Rated R part two but, instead, bring in fresh influence and sounds. Not every band is blessed with the same skillset and natural-born command of Josh Homme but that is not to say we should see such a dearth of compelling band music. I have highlighted two bands who shall not disappoint: is that enough to counterbalance the raft of underwhelming, half-cooked releases? I would say not, but wonder if this is a malady reserved for the mainstream? Perhaps the sensation has bypassed the blood-brain barrier and gone straight to the top. It seems, given its comparable mass and variety; the bands of the underground are priming themselves for a revolt. I guess it is hard to discipline and organise the truly great unsigned material from that which is merely okay. The sheer volume and berth of the underground means there is a subjectiveness saying THAT is where the best bands will come from. In the same way, Rock is not dead – it does need a colonoscopy, to be fair – bands are not a spent force. Last year was more productive for the market and I guess things will pick up this year. I am glad solo artists are getting the lion-share of the attention but it makes me wonder why. In terms of newer acts; it is pretty equal between bands/solo artists/duos etc. In the mainstream, I feel there is a mass majority of solo artists/duos. I did not realise the tide had turned this way because, as recently as a few years ago, this was not the case. One would see a great band doing well which, in turn, would compel their peers to up their game – that would create a wave and knock-on-effect. Is the reason we are seeing fewer great band albums due to their being no true leader in the field?!

IN THIS PHOTO: Laura Marling/PHOTO CREDIT: Lauren Connelly

I have mentioned the likes of Radiohead and Foo Fighters but we need new blood to strike and compel the field to create truly wonderful music. I feel there is scepticism from the media that is biased towards solo artists. Again, this was not the case until recently. Has something happened to sour the waters or was there the feeling solo artists were not getting proper exposure?! Whatever the reason, I am concerned this year, like last, will be synonymous with terrific albums by solo artists. Last year’s best was, in my view, a mix of Hip-Hop and R&B classics – Beyoncé chief among them. This year, so far, Kendrick Lamar, Laura Marling and Lorde look set to fight for the gold medal. Maybe it is their style of music that is being favoured – bands unable to replicate what the people want. HAIM, another band tipped for a lot of acclaim, have not produced their best work this year – same goes alt-j (maligned by a lot of critics and listeners after witnessing their album, Relaxer). I genuinely think it is an issue reserved to the mainstream right now. I get to see the finest new bands develop and strike – not just here, but all around the world. How easy it will be for the crop’s cream to assimilate into the mainstream is hard to say but we definitely need to see a chance. I am hopeful we will see a bit of a turnaround for the fortunes of the mainstream band dollar. This year, especially, has been lukewarm at best. Whether future releases from Arcade Fire and Queens of the Stone Age will be joined by a litter of unexpected quality releases, has yet to be seen. What I DO know is it is the solo artists of music making the big impact on critics. Whatever the psychology, origin and solution: I am keen to see whether the second-half of 2017 is any different. I hope we are not seeing a prevarication of mainstream band wonder – where solo artists are stealing most of the affection. If this trend continues over the next few years; it will have a damaging effect on the mind-set of new bands hoping to make a success of their careers. THAT, more than anything else…

IN THIS PHOTO: Arcade Fire

WOULD be a huge tragedy.

FEATURE: The Best Albums of 2017 (So Far): Lorde - Melodrama

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Lorde - Melodrama

________

AFTER I finished my laudatory piece about Laura Marling…

and her latest album, Semper Femina - it occurred to me how young she is. To write an album like that at twenty-seven is a remarkable feat: the fact that is her sixth album is truly remarkable. Now I face twenty-year-old New Zealander Lorde and I am back in that agog state. Following her 2013 debut, Pure Heroine, critics were impressed by her honesty, striking lyrics and addictive, incredible voice. Some were less kind but it was a felt, from an artist still in her teens, better work would arrive. It did not take long for Lorde to plan her second attack. Not long after the release of the album, a couple of months, in fact, Melodrama was starting to take place. If, in her words, Pure Heroine was the teenage feeling of preparing for a party – putting lights up, getting ready and sound-tracking the never-ending preening, preparing and clothing choices – this album is the youngster at the party and deep in the music. Maybe a clever way of explaining a mature step forward; one cannot help notice how different Melodrama is (to Pure Heroine). Whilst, unlike Sampha and Laura Marling (my two previous subjects in this feature), there are more writers/producers in the mix – it is not to say Melodrama is the work of a committee.

PHOTO CREDIT: Dean Chalkley

Eight of the eleven tracks feature Lorde going solo on the lyrics: she co-writes the music on all tracks – her and Jack Antonoff taking care of things for the most part. One feels Lorde could have written everything herself but found a connection and affiliation with Antonoff. Recorded over an eighteen-month period; there is a sense of realisation, discovery and growth on Melodrama. Pure Heroine was a young artist taking her first steps and preparing herself for the party, as it were. Melodrama is the full-flight, volume-turned-up-loud epicentre of the party. Not that there is needless bombast, petulance and rebellion. Instead, Lorde’s intensity and volume come in the form of maturity, huge originality and consistently brilliant lyrics. That might sound like a middle-aged version of ‘cool’ but, considering she was still a teenager when the final notes were being recorded, that is incredibly impressive. Lorde’s second album is, for the most part, battles with loneliness in all its forms.

Many have theorised the songs document a relationship breakup – the New Zealand artist has denied this – but it is about certain awkwardness and the pressures of fame. One would see someone like Lorde and assume – given her success and popularity – she would be fighting people off. Melodrama is a revealing look inside a young woman who is juggling music responsibilities and growing up – trying to find company but finding it hard to come by. Music is, intrinsically, a lonely and tough industry: few albums address it and redact the truth. Green Light, the first single from the album, is one of the more traditional breakup songs- Lorde stated how she loves breakup songs and gets an understanding of that side; not having to Google it and learn that way. Watching Lorde’s triumphant appearance at this year’s Glastonbury was a revelation to me. She was on a huge stage in front of thousands of people. It would be understandable were the nerves to get to her – daunted by the reality of being centre-stage and under the spotlight. Her charming, personal and humble performance was as real and authentic as they come. No vainglorious boasting and ego: a woman, at times dazed, who was overwhelmed by the crowds and their love. This sense of personality and modesty comes through in the music. Tracks like The Louvre – the heroine hanging in the back of the gallery; not quite prestigious enough to be in the atrium or public gaze – is a sheepish woman who wants attention - but knows she might have to settle for being a wallflower.

IMAGE CREDIT: Getty

That is unfair because, hearing Lorde talk and listen to her music, she is second to nobody. It makes Melodrama’s consistency, highlights and themes harder to take – knowing she deserves to be happier and more resolved. Perhaps loneliness and isolation have fuelled some of the greatest albums ever. Taking inspiration from Tom Petty, Paul Simon and Joni Mitchell; Lorde wanted Melodrama to be a catharsis but, also, combine hedonism and vulnerability. Writer in the Dark warns against kissing a singer/writer like her – a blend of kiss-and-tell caution and falling for someone who will lead the guy astray. Album highlight Liability is a bare and gorgeously-sung track – the second single from the album – where the heroine sings from the diary pages and confesses her inner fears (the track is under-produced to allow the words to strike and register more clearly).

Having grown up in the public focus since the age of seventeen; Lorde had no choice but live with that lifestyle. A young woman from the offset – not a petulant or pouting teen – she has become an apostle of maturity and acting your age. So many mainstream Pop stars are immature and too reliant on sex, relations and drama to sell their album. Lorde, by contrast, shows a dignity and steeliness her contemporaries should learn from. The input of Fun and Bleachers man Jack Antonoff is pivotal. He brings in retro. synths., stunning signatures and big, empathic moments: contrasting from Pure Heroine’s less diverse and ‘calmer’s sounds. Colour seems to be a background theme for Melodrama – and Lorde as a woman. The go-now green of the title track to the pastels and watercolours of The Louvre; the black and grey heaviness of Sober to the black-red-and-pink femme fatale allure of Writer in the Dark contributes to a kaleidoscopic collage of textures and tones.

If The Louvre is more about the doomed infancy of a causal relationship: one can extrapolate a sense of anonymity, invisibility and solitude. One hears literalism and obliqueness mix throughout the album. There are autobiographical elements and fictional passages: these contrasts and consistencies result in an album filled with wonder, promise and mysticism. Lorde is queen and master of everything she surveys on Melodrama. Her vocals range from bewitching and low-growled to high-pitched and ethereal. The songwriting is among the most original, personal and surprising you will hear all year – few expected such an evolution from an artist so young. Production values are rich and luscious when needed; under-done and subtle when the music calls for less tangible parentage. Because of this intelligent and wise approach to the music; critics have been buckled and seduced by the young Lorde. She continues to up the game and, at twenty, show there are plenty more albums left in her. Melodrama is a dizzying and wondrous record that has…

FEW rivals this year.

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Released

16th June

Recorded:

July 2015 – January 2017

Genres:

Pop; Electro.-Pop

Length:

40:58

Labels:

Lava, Republic

Producers:

Lorde, Jack Antonoff; Jean-Benoît Dunckel, Flume; Frank Dukes, Kuk Harrell; Joel Little, Malay; S1 and Andrew Wyatt

DOWNLOAD:

Greenlight, Sober; The Louvre, Sober II (Melodrama); Writer in the Dark, Supercut

STANDOUT TRACK:

Liability

FEATURE: The Best Albums of 2017 (So Far): Sampha - Process

FEATURE:

 

The Best Albums of 2017 (So Far):

 

  

Sampha - Process

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THERE is a lot of talk concerning race in music and whether…

the industry is doing enough to support minorities. Whatever your views on this debate; there are a lot of inventive and compelling black artists that are complicated the debate – in a good way, that is. Many assume minority artists play in minority genres – it is a specious argument but one, ironically, created by the media/a section of people pigeonholing these acts to begin with. Step forward Sampha who is impossible to categorise and label. His music could be described as Neo-Soul or R&B; maybe Pop with a bit of Hip-Hop. He is at his most affecting when opening the heart and speaking from his own experiences. This is evident on the astonishing, articulate and deeply moving debut, Process. In past years, the British singer-songwriter has made use of his bedroom/homemade studio. Residing in Modern, South London; Sampha is known for his collaborations with Jessie Ware, Drake and Solange – among many others. Born to Sierra Leonean parents on 1988; the young Sampha (Sampha Sisay to give him his full name) played piano at his parents’ home in Morden. After his older brother made him a makeshift studio – and the curious youngster engrossed his mind with old recordings and new discoveries – the flame was lit. E.P.s Sundanza (2010) and Dual (2013) showed immense process and captured the intimacy and rawness of Sampha’s music. It was inevitable the hungry and ambitious musician would seek the comforts and choices of the studio.

Sampha2.jpg

Recorded at various studios in London; Process was, befitting of its title, a gradual coming-together of songs that were finally released on 3rd February. Not that Process is a huge expansion and sea change from his E.P.s. The songs are finely crafted and meticulous: time to make the notes and ideas gestate, grow and appeal. Around the time the album was written; Sampha lost his mother to cancer. Process, in a sense, is the articulation of the harrowed and devastated man coming to terms with a huge tragedy. On the album, one got a contrasted and afflicted man who was wrestling with grief and loss – someone unsure whether he has abandoned his roots and stepped too far into the mainstream. That could never be. Sampha was progressing from the confines of home and embracing the studio and its surroundings. Process has Sampha’s London roots ingrained in every note: memories and tales of his mother are entwined in the soil like a mighty tree.

It would be hard to give the music (on Process) its lustrous, cinematic and emotional immediacy were it not for some of the more hi-tech recording equipment available at the time. Sure, Sampha would have been able to create a more haunted and bare-naked sound at the home studio. Process is not a man taking a chance to follow money and a label: it is the natural reaction to the circumstances that provoked the album’s progeny. When writing the songs, he would have been acutely aware they would be played on radio – or, at the very least, make their way to people all around the world. The importance of the subject matter and instrumentations/sounds/values needed to authentically define his emotional and creative mindset could only emanate from the studio. He has not compromised values or lost any of his potency and credibility. Process has a sound that is not over-produced: it is organic and free yet has experimentation and scope. THAT is the reason Sampha, in his words and nobody else, felt he had betrayed his roots. One could not hear that unique approach to arrangements without an over-reliance on hand-held technologies.

Songs like Plastic 100°C has koto sounds and is soothing and panicked, all at once. Kora Sings boasts juxtaposed and intense percussive scramble; Reverse Faults showcases Sampha’s gift with samples and sonic patchwork – weaving it into something unnerving, strange and beautiful. What impresses me, and most critics, is that steadfast refusal to conform with the market and copycatting peers. Sampha did not feel the need to become the next Kanye West or Drake. He retained his London blood and distinct, peerless attitude to music and composition. An almost anonymous presence could easily sink without trace. The fact Process is no ordinary album is just as well: it is a moment in time that cements Sampha’s reputation as one of the world’s most impressive and vibrant songwriters.

Compassionate and soul-baring; strident and meditative at other times – a remarkable album that few people were expecting. Given the aftermath of his mother’s death; it would be forgivable were Process an inconsistent and self-indulgent mess. Sampha does not look for sympathy not turn the album into a family photo album. Instead, it is an album everyone can understand and feel connected to. (No One Knows Me) Like the Piano is, perhaps, the most affecting song concerning his mother – that early experience with the instrument and his mother’s hand in that. Rather than shy away from the heartache, stress and troubles experienced: Process is an execration and detox, in a way. It is a brave young man revealing memories and words that many would want to keep concealed – due to them being deeply personal and sacred. That is one reason why Process resounded with critics. Sampha, on the record, managed to turn tragedy into something beautiful and uplifting. There are genuine moments of sorrow but, against the tide of loss and change, there is hope and the need to process things and make sense.

Given Sampha’s work with artists like Jessie Ware; it would have been easy enough to have her sing on, say, Take Me Inside. Process is a personal/familial sermon so would seem disingenuous and tainted were too many other bodies to tell the story. Aside from a couple of co-writes later on the album – Timmy’s Prayer has Kanye West on the credits – it is Sampha alone. Three singles have been released from the album – Timmy’s Prayer, Blood on Me and (No One Knows Me) Like the Piano – and that is quite rare in this day. Many artists release five or six songs from a record. Perhaps there is another single coming but, one suspects Sampha is already looking ahead to his next release. Whether you agree with Sampha’s assertion he has abandoned a bit of his roots, one cannot deny the sheer wonder available throughout Process. It is one of the most impressive debut albums in recent years and, when it comes to this year’s best albums, it is…

PHOTO CREDIT: foxyneela

RIGHT near the top of the list.

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Released

3rd February

Recorded:

2014-2016

Genres:

Alternative-R&B; Neo-Soul

Length:

40:17

Label:

Young Turks

Producers:

Sampha and Rodaidh McDonald

DOWNLOAD:

Kora Sings, (No One Knows Me) Like the Piano; Reverse Faults; Incomplete Kisses

STANDOUT TRACK:

Blood on Me

FEATURE: The Best Albums of 2017 (So Far): Laura Marling – Semper Femina

FEATURE:

 

The Best Albums of 2017 (So Far): 

  Laura Marling – Semper Femina

________

IN the same way I have conducted a round-up of the…

best songs of the year so far – in my opinion – I will do a little piece on five albums that, in this journalist’s humble view, have defined 2017. We are just over the half-way mark but, already there has been a bounty of great material. The first album, and one that could well claim the top-spot when I do my end-of-year lis, is Laura Marling’s Semper Femina. Two years after Short Movie (an album where Marling co-produced and felt like, in a way, she didn’t exert enough control) it was no surprise to hear of a new arrival from the Berkshire musician. I have followed Marling’s career since the beginning and KNEW Semper Femina would be a great album – I did not expect it to still be bouncing around my brain four months after its release. The title (‘Semper Femina’) is culled from the poet Virgil and is a truncated sentiment from a longer line of Latin – roughly translates to ‘woman is ever a fickle and changeable thing’. Given Marling’s proactive stance tackling sexual inequality in music society; that title might seem like a tongue-in-cheek approach.

The record is confident and, in places, angry offering from an artist who, nine years since her debut (Alas, I Cannot Swim) has yet to put a foot wrong. In fact, such is the consistency and variation on Semper Femina – it suggests there will be another album along very soon. Initially; the album was intended to be a man’s perspective as perceived by a woman. That would seem apt given the title and translation but Marling realised the narrative had to be hers. Semper Femina HAD to be from a woman’s viewpoint and a record that addressed a woman’s world – as written by a woman. It is no surprise Semper Femina has a transitory and itinerant nature. Conceived in Marling’s (at-then) home in Los Angeles; the young musician soon moved back to London – she moved to L.A. in a period of confusion and self-discovery. One can hear elements of Californian life in the music but, on a whole, it is more universal, personal and poetic.

Songs like The Valley demonstrates that reliably intelligent and poetic pen. At a time when artists like Lucy Rose are progressing and blossoming – one can argue they take a lot from Marling. Certainly, those deep and nuanced lyrics; the stunning pure (yet elastic) voice and immense candour can be applied to both Marling and Lucy Rose. There is, like Short Movie and other Marling work, a nod to Joni Mitchell. Maybe it was the Californian air but one can hear elements of Mitchell – her Ladies of the Canyon and Blue albums – on delicate and expertly-picked tracks like Noll. Wild Fire and Nothing, Not Nearly burn with passion and promise but are some of the slower, more contemplative numbers. Lead-off single, Soothing, contains fantastic Jazz bass and slinks and slithers (Blake Mills co-writes). It was one of my favourite singles of last year – the single was released in late in 2016 – and shows new direction and sounds in Marling’s arsenal. Despite the fact Semper Femina is nine-tracks-long; one hears Marling muse on relationships, short-lived ambitions and reflections on human life. One senses a woman experience turbulence and uncertainty: often refracted away from the heart to encapsulate a wider, less concise malaise.

Less electric, direct and simplistic than some of her earlier work; here, there are Jazz expressions and new textures: vibrator guitar lines and shimmering, evocative strings – one notes whispers of Nick Drake in some moments. “I do well to serve Nouel, whatever service I may be…Fickle and changeable, weighing down on me” might be a twenty-seven-year-old burdened by responsibility and wisdom but it has an oblique manner (one can interpret it in various ways). Semper Femina, away from gender concerns and female purpose, looks at the younger Marling compared to her current incumbent. That sense of wanting to return to less-responsible ways: more spirited and less indebted to maturity and consequence. In the end – chronologically and realisation-wise – it that need for a certain transformation that leads to something structured and mature. The album ends with Marling, one suspects, plotting a future and, whilst older than ever and missing elements of her past – a woman keen to press forward and explore. Semper Femina is a fantastic record and one that overspills with incredible songwriting and near-career-defining songs. It is not a truly great year in music unless Laura Marling releases an album: Semper Femina could well top many critics’ ‘Best of 2017’ lists in five months. In my opinion, it would…

BE thoroughly deserved.

____________

Released:

10thMarch 

Recorded:

2016

Genres:

Folk-Rock; Alternative-Rock

Length:

42:19

Label:

More Alarming Records

Producer:

Blake Mills

DOWNLOAD:

Wild Fire, Don't Pass Me By; Nouel, Nothing, Not Nearly

STANDOUT TRACK:

Soothing

__________

FEATURE: Music Makers Festival 2017

FEATURE: 

 Music Makers Festival 2017

________

SOME of the biggest festivals of the year have…

already finished and left us. After the first bout of big festivals: the nation is priming itself for another round of terrific events. I am looking at the calendar and seeing what is coming up. It is going to be a fantastic next few months – some awesome festivals and artists one can enjoy. Away from those traditional and perennial standouts: there is a legion of smaller festivals one should be aware of. Chief among them is the exciting lineup that has already been announced. I will put in the press release; a bit about the organisers and details of the acts involved – and how you can get tickets:

Music Makers is a brand new two-day independent music festival taking place in London on the 5th and 6th of August 2017. Organised and curated with love, by the team behind London-based musician Albert Man. The festival celebrates other fellow musicians that both Albert Man and his manager, Manoja Ullmann, have had the pleasure of getting to know over the years during their time in the business.

The event is taking place at Omnibus Theatre, a converted Victorian Library, situated in the heart of Clapham Old Town. Showcasing 16 talented artists/bands (consisting of solo artists, duos, trios and full bands) over the two days, the festival will have 8 unique performances each day in the main theatre.

The line-up includes Michele Stodart (The Magic Numbers), Prose, Tom Speight, Dani Sylvia, Albert Man, Up Down Go Machine, Anna Pancaldi, Brian McGovern, Tara Lee, The City and Us, Belle Roscoe, Adam Masterson, Ilona, Mark Sullivan, Matt Perriment and Steve Young.

Early bird tickets for the two days are available in limited numbers as well as day tickets for either the Saturday or the Sunday.

ORGANISER: MANOJA ULLMANN

Twitter: https://twitter.com/ManojaUllmann

Email: manoja@albertman.com 

Phone: +44 (0) 7918652368

ORGANISER: ALBERT MAN

1 CLAPHAM COMMON NORTH SIDE
LONDON, SW4 0QW

DAY 1

PROSE (5th August, 10 P.M.)

Up Down Go Machine (5th August, 9:15 P.M.)

Dani Sylvia (5th August, 8:30 P.M.)

Belle Roscoe (5th August, 7:45 P.M.)

ILONA (5th August, 7 P.M.)

Adam Masterson (5th August, 6:15 P.M.)

Matt Perriment (5th August, 5:15 P.M.)

PHOTO CREDIT: Joe Lindsay Photography

Facebook: https://www.facebook.com/MattPerrimentMusic/

Steve Young (5th August, 4:45 P.M.)

DAY 2

Michele Stodart (6th August, 10 P.M.)

Tom Speight (6th August, 9:15 P.M.)

Albert Man (6th August, 8:30 P.M.)

The City and Us (6th August, 7:45 P.M.)

Anna Pancaldi (6th August, 7:00 P.M.)

Brian McGovern (6th August, 6:15 P.M.)

Tara Lee (6th August, 5:30 P.M.)

PHOTO CREDIT: @wolfmarloh

Facebook: https://www.facebook.com/TaraLeeArtist/

Mark Sullivan (6th August, 4:45 P.M.)

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Follow Music Makers Festival 2017:

FEATURE: Nick Drake: Five Leaves Under the Fruit Tree

FEATURE:

 

Nick Drake:

 

 

 Five Leaves Under the Fruit Tree

________

A few days back, the forty-eighth anniversary of Nick Drake’s debut album…

Five Leaves Left was marked. Born on 19th June, 1948; Nick Drake signed to Island Records aged twenty and, as is the case with a lot of legends, gained mass popularity after his death. It is hard to believe – or perhaps not – his albums did not sell more than a-few-thousand copies. In this day and age, it would be seen as a travesty: then, due to the lack of critical expectation and public awareness; few made too much of a drama about it. One of the reasons behind Nick Drake’s lifetime anonymity could be down to his ‘enigmatic’ approach to promotion. Few photos of him exist – making this feature a bit desperate when it comes to sourcing images – and there is a surfeit of interviews. That is the way Drake operated: keeping himself away from the marketing and promotional side of things: concentrating on the music and his art. Today, he would not last too long and be resigned to the status of ‘cult hero’ or something minor, perhaps. It is as well people have proffered and preserved his music through the decades – one wonders whether he would have such a legacy if Drake relied on the critics of the time to pass his music to future generations. For me, the passing of Five Leaves Left’s anniversary serves as a reminder as to the sheer talent and relevance of Drake. On 26th November, 1974, Drake died of an overdose – whether intentional or accidental – and, many would say, had given up on life. The final years were marked by a progressive sense of retreat and unhappiness – although, his family claim his mood was positive leading up to his death. Strip away the mythology, psychology and rumours and see Nick Drake as the incredible songwriter he was – and a hero that inspires musicians today. I will have a look at his three studio albums – and the effect he has had on contemporary musicians – but one cannot underestimate the effect Nick Drake had on music. In such a short career, he wowed critics and gained a reputation as one of the finest Folk songwriters of the 1970s.

In fact, that last point is doing him a disservice: Drake is one of the greatest songwriters ever and, during his short career, had few equals. The way he wrote and expressed himself; the candour, gravitas and emotion his voice – a fine and extraordinary poet who could convey so much with the merest picking of the guitar strings. The 1979 album, Fruit Tree, allowed Drake’s back catalogue to be reopened – his music was in danger of being overlooked after his death – and provided an opportunity for musicians of the time to connect with a unique artist. The likes of Robert Smith and Peter Buck, during the 1980s, cited Drake as an influence. Today, I hear the tones and colours of Nick Drake in so many artists performing today – not only those who perform Folk music. Drake’s language and lyrics – from mundane items like a garden shed or solitary fruit tree; scenes of the city at dusk or the complexities and demons of the human mind – have given modern artists more confidence. Antifolk artists – who rebel against, what they see as, a rather stilted and limited lyrical palette in Folk – have bonded to Nick Drake. He was not someone who limited himself or followed the pack. The debut, Five Leaves Left, arrived in 1969 – Drake started recording in 1968 with Joe Boyd as producer – and found the student Drake skipping lectures so he could record the album in London. Inspired by John Simon’s production work on Leonard Cohen’s debut album: Boyd was keen to capture the same sort of intimacy and gravity – without reverb, Pop shine and cheesiness. He recruited legendary musicians Richard Thompson (Fairport Convention) and Danny Thompson (Pentangle) to help with the album – Richard A. Hewson was drafted to arrange the strings. Despite the glorious results we have all grown accustomed to: the early stages of production were anything but smooth. Drake and Boyd clashed over artistic ideas. Boyd, advocating George Martin’s idea of using the studio as an instrument, riled the more organic-minded Drake. Both, during early sessions, were unhappy with Hewson’s contributions and there was a general air of anxiety and unhappiness.

Robert Kirby – a music student friend of Drake’s – was drafted in. Boyd was sceptical about an untested and inexperienced musician. Drake’s assertiveness won over and the results are plain to see. Aside from the epic River Man – Kirby not confident enough to do it justice – the string articulation and beauty throughout the album added a huge amount. Five Leaves Left is considered one of the finest Folk albums of all-time. Drake’s voice is commanding and filled with wisdom, curiosity and graveness; the music is elegant, melancholic and sublime. All these ingredients, one would think, would connect and impress critics. That was not the case: Drake was disenchanted and the album was a commercial failure. Looking back; it seems songs like River Man, Three Hours; Way to Blue and Cello Song would stagger – even if they were not accompanied by other brilliant offerings. Maybe the album was too ahead of its time and unlike anything else; perhaps the lack of publicity and promotion meant people were unaware. During this time; Drake was in London – sofa-surfing and spending time on friends’ floors. Letters between Drake and his father revealed a scepticism and wariness – advising his son to continue his studies at Cambridge (Drake dropped out before graduating) and having that safety net. Drake had no intention of playing things safe and was determined to pursue his goals. By November, 1969, Drake opened for Fairport Convention at the Royal Festival Hall in London. He also played at Folk clubs in Birmingham and Hull. A lot of the Folk purists were not sure how to take to Drake – not ready for his brand of music. Folk singer Michael Chapman, reflecting on the Hull performance, assessed it thus:

“The folkies did not take to him; [they] wanted songs with choruses. They completely missed the point. He didn't say a word the entire evening. It was actually quite painful to watch. I don't know what the audience expected, I mean, they must have known they weren't going to get sea-shanties and sing-alongs at a Nick Drake gig!”[30]

It is dismaying reading about Five Leaves Left’s poor performance. The experience left Drake jaded and affected – he retreated from touring and, as such, the rare times he did perform were marred by long silences and songs played in different tunings. One would imagine a pastoral-sounding album would do well in the folk scene of the late-1960s. Determined not to see his second album suffer the same fate; Drake included drums and bass on Bryter Layter. More commercial, perhaps but, in my opinion, an album that contained the same sort of unique energy and beguiling songwriting as its predecessor. John Cale contributed on Northern Sky and Fly; Fairport Convention were involved – as was Beach Boys musicians Mike Kowalski and Ed Carter. In fact, Drake wanted to replicate the sounds and moods of Pet Sounds – lush strings, romantic orchestration and nuanced soundscapes. Accompanied on every song; there is so much depth and colour to be found. There was, around this time, a contrast between Nick Drake the artist and Nick Drake the person. In the studio, it seemed like inspiration was high and there was a definite stability and ambition. Away from the microphone, Drake was consuming more cannabis and reaching near-psychosis levels of mental unrest. He was cloistering himself away from people and becoming less communicative – his depression exacerbated by a lack of critical affection and touring issues. Relationships with Island Records were strained: Drake was/is an incredible artist but was not gaining the sales and reviews he had wished for. I guess psychological and personal issues conflated with music. There was no demand for a third album but Nick Drake made one: thank God he did because it was the remarkable, Pink Moon. If Bryter Layter was a reaction to Five Leave Left’s (appropriately) pastoral and relaxing sound: Pink Moon was an attempt to return to the reflective end of the spectrum – a stunningly sparse and simple album. Aside from the title track (a bit of piano in the chorus), Pink Moon’s songs was Nick Drake accompanied by acoustic guitar. I feel, of all Drake’s album, Pink Moon has been the most influential and affecting – you can hear its embers and nuances passed down to musicians today.

The twenty-eight minutes of music was created in two nights in 1971. The bleak sound of the record, perhaps, reflected the mental state of Nick Drake – although many claim he was in positive frame-of-mind when he was recording. The sub-half-hour running time was, I guess, about right for an album that manages to expend as much beauty and revelation as it does starkness and dark shadow. After Five Leaves Left; Drake expressed a desire for a fuller, more evocative sound: Pink Moon was the result of unhappiness of Bryter Layter. A contrary and restless artist: Pink Moon, strangely, is Nick Drake at his most comfortable and confident. The nakedness and uncomplicated nature of Pink Moon has resonated with artists of today. At the time, when the album was completed, Drake delivered it to Island Records – mythology claims he popped it to a receptionist and sloped off. Regardless of truth: the album was presented with no fanfare and hype. Drake, perhaps, because of his mental welfare and drug use, was unwilling to commit to promotional duties. The record company were dissatisfied – the album was given a small advert and not a lot of attention. Critics at the time were mixed, to be fair. The sense of Nick Drake being a 'mysterious artist'; someone who was not as revelatory and open as one would hope – there was frustration and a need for greater expression and variation. Those who ‘got’ the album realised shyly-songs like Things Behind the Sun were stunning insights into a unique soul. Pink Moon is an incredible title track that, alone, makes the album a twilight wonder. Free Ride – a rare three-and-a-bit-minute excursion – is a standout: Harvest Breed one of Drake most-famous numbers. We all know (or perhaps not) the aftermath of Pink Moon. Drake became more insular and frugal – receiving a paucity from Island Records; existing a very modest and un-musician-like existence. Friends would see Drake and a blank stare – someone who would look through them (rather than at them). That deepening depression foreshadowed an inevitable conclusion – one where the extraordinary musician would – maybe a sense of having burnt as hard as he could; unable to take the pressures of life – departed the world.

After his death, it took a while for the world to realise the genius and talent of Nick Drake. The classic example of someone unappreciated and overlooked in their lifetime – someone who did very little promotional work was always going to struggle. It was not until the mid-1980s – rather shockingly – Drake’s artistry and true potential was realised. R.E.M. and Robert Smith helped spread his music to audiences at the time. Today, there are musicians overt in their appreciation and love of Nick Drake. Consciously or not: so many of today’s musicians owe a debt of gratitude to the legend. I am not sure what it is about Drake that hits people so hard. The lack of airs and attitude: an artist who was dedicated to the business of making music. In a time where ego and marketing define music – as much as talent and the songs themselves – it is refreshing someone as unassuming and focused as Nick Drake has made an impact so many years after his death. One wonders, if he were alive today, he would be making music. Sure, his life was as synonymous with trouble and problems as it was success and accomplishment. The three studio albums Nick Drake left the world are a reminder of what a singular, exceptional artist he was. His influence will live through the decades; those classic songs – many of which are collected into the playlist at the bottom – are instant and timeless. For me, I am caught between Pink Moon and Five Leaves Left: the astonishing orchestral masterpieces of the latter; the bare and desolate beauty of the former. Whatever your connection to Nick Drake – assuming you ever have one – the forty-eighth anniversary of Five Leaves Left (just gone) should compel many to revisit a master of music. I will be spinning his incredible music tonight and remembering a human being, in all his modesty and mystique, who truly created some of the most…

BEAUTIFUL songs born to this world.

FEATURE: The British Live Music Scene: Improvements and Divisions

FEATURE:

 

The British Live Music Scene:

 

  

Improvements and Divisions

________

A report by Wish You Were Here....

presented some rather pleasing findings in relation to music tourism in the U.K. The report revealed the impact of music and tourism on the U.K. economy – at a local and national level. I shall start by quoting from the report:

“The number of people who enjoyed live music events in the UK rose by 12% in 2016 to 30.9 million – up from 27.7 million in 2015.

Live music fans generated £4 billion in direct and indirect spending in 2016 by flocking to concerts and festivals across the UK – a rise of 11% on the £3.7 billion they spent in 2015.
The total number of music tourists from the UK and abroad increased by 20% in 2016 to 12.5 million, of which 11.6 million were UK citizens visiting live music events in other parts of the UK.
Collating a vast amount of ticketing and other data from hundreds of venues, UK Music annually compiles this unrivalled insight into live music in every region of the UK and its impact on the local economy”.

The report includes an introduction by Culture Secretary Karen Bradley and will be officially launched at the House of Commons on Wednesday 12th July.

The key findings of the report include:
UK LIVE MUSIC IN NUMBERS 2016
- 30.9 million - total audience that attended live music events in the UK
- 3.9 million - total festival attendance in the UK
- 27 million - total concert attendance in the UK
- 18.4 million local residents attended local music events in the UK
UK MUSIC TOURISM IN NUMBERS 2016
- £4 billion total spend generated by music tourism in the UK
- 12.5 million music tourists in 2016
- £656 million box office spend on tickets by music tourists in 2016
- 40% of live music audiences are music tourists
- 47,445 full time jobs sustained by music tourism
- £850 average spend by overseas music tourists in the UK
- £150 average spend by domestic music tourists in the UK
SMALL MUSIC VENUES IN NUMBERS
- 6.2 million total audience at small music venues
- 1.67 million tourist visits to small venues
- £367 million total spend generated by music tourists visiting small venues

It seems concert attendance is higher than ever. Festivals are seeing rising numbers and the gig-going audience soared by 12% to 30.9 million in 2016 – that is according to UK Music. That has contributed £4 billion to the nation’s economy. It is heartening seeing those key figures/facts - 4 million people attended a festival in 2016; and that 823,000 people travelled to the UK from abroad specifically to watch live music, spending an average of £850 per visit – and, since 2011, the U.K. has seen a 76% rise in music tourism. I shall look at the flip-side of the report but, looking at those statistics, it seems there is much to celebrate. In terms of the word ‘tourist’, in this context, it is very apt. Britain is seeing a lot of international music fans come here and see some of our biggest festivals. Whilst nations like the U.S. have great festivals themselves: there is a definite appetite for the finest British festivals. Glastonbury has just passed and saw huge numbers flock there. We have Reading and Leeds approaching; many more festivals approaching – as the weather warms, so too will the live music economy. Maybe the improved weather has helped boost numbers – if it continues, that will attract more tourists over here. It is not only the major festivals enjoying boosted numbers: smaller, boutique festivals are enjoying increased numbers and sales.

PHOTO CREDIT: Ben Bentley

Maybe political events have caused a social rebellion. The tragedies at Grenfell and terrorist attacks have seen, as predicted, people come together and defiantly embrace life. Music festivals are the perfect place for the masses to unite: no shock festivals are seeing more bodies through the barriers. There are security fears but, for the most part, festivals are being stringently policed and monitored. It is good to see the raised threat of terrorism is not deterring music-hungry crowds. The fact two-fifths of those contributing to the coffers of live music are tourists is good news. One wonders, however, whether political decisions will impact on this prosperity. If Brexit does go through – it is a BIG if at the moment – and limitations are imposed on E.U. citizens coming to the U.K. – how damaging will that prove?! There is a lot of confusion and uncertainty surrounding restrictions and decrees. At the moment, before any legislation has been passed, some are wary of travelling through fear of persecution and reprisals. The murkier the Brexit waters get; the more obfuscated the music tourist community will become. I am buoyed by the figures released by Wish You Were Here’s annual report and wondering if this is influential…

DIGITAL MUSIC OVERTAKING PHYSICAL SALES:

One cannot look at the growth of the live music scene without talking about sales and the digitisation of music. It appears, for the first time, digital music streaming/purchases are overtaking physical formats. This trend looks set to continue. An article, written by FACT, explains it:

“Streaming revenue is to overtake physical music sales in the UK, according to figures released by the British Phonographic Industry (BPI).

Streaming accounted for 30% of overall label revenues in 2016, compared to 32% for physical sales. According to the BPI, the rate of growth means that streaming is expected to overtake physical in 2017.

According to the BPI’s report, 11% of the UK’s adult population were subscribed to a service such as Apple Music or Spotify at the end of 2016.

The figures also revealed that overall revenue (streaming, physical and download sales, performance rights and licensed music) rose by 5.1%. The £926 million total is the largest in five years.

However, the BPI was cautious about the challenges the industry still faces, including piracy and the difference in revenue generated for artists and labels from services such as YouTube.

BPI chief executive Geoff Taylor also warned of the uncertainties surrounding Brexit, arguing that UK artists needed to retain access to EU markets after the UK’s withdrawal.

“Britain’s world-leading music sector has the potential for sustained growth in the years ahead, but this exciting future can only be realised if government makes creative businesses a priority post-Brexit,” he said.

“It means making sure that UK artists can tour freely in EU markets and that UK businesses can access the best talent.”

The boom in streaming and rise in overall revenue for the UK music industry mirrors that of the US, where streaming accounted for a massive 51% of all revenue in 2016”.

Bringing in another piece - https://www.pwc.com/gx/en/industries/entertainment-media/outlook/segment-insights/music.html - and more exposition is provided:

“Global music industry revenue grows with consumer preference shifting towards subscription-based, rental services

Global music industry revenue is expected to grow at about 3.5% CAGR thru 2021, with growth driven by both the recorded music and the live music sectors. The most significant trend witnessed however, has to be the marked consumer shift away from purchasing and owning recorded music to showing an increasing preference for subscription-based, music-rental services. The five leading markets also all headed in the same direction.

Digital recorded music revenue will increase at about the same rate that physical recorded music revenue declines

Physical recorded music revenue continues to decline, with even long-stalwart German music fans now turning their backs on CDs in number, as consumers look to digital music to provide their audio entertainment. However, this decline in physical recorded music will be more than compensated for by revenue growth in the digital recorded music segment, driven by consumer uptake of music streaming services”.

I am a bit torn by these findings. On the one hand, it is hard seeing formats like C.D. and vinyl decline – by comparison – and the physical side of music. Maybe pricing and limited availability is seeing more people turn to digital methods. More people are listening to music on the move: they want to access their tunes through their Smartphones and laptops. Another reason digital music is starting to grab the majority marketshare is the fact many can get it for free. Spotify, YouTube and BandCamp are free; many can subscribe to Spotify and not pay anything – making is more attractive than buying a C.D. or vinyl. That said, the greater availability of music – through digital methods – means better education. If people are not able to afford music, or find they cannot find everything they want at the local record shop, it is a good thing one has options like Spotify. I shall talk more about this service in relation to small venues’ future but, for now, it appears there is a correlation between festivals’ growing numbers and the popularity of digital streaming.

The Internet opens one to the full majesty and scope of music. Once we have that degree of access: it means we discover more artists and, as such, are more inclined to go to festivals – knowing who is playing and what their music sounds like. One might argue there are issues with streaming and remunerating artists – I shall come to look at the issue of restitution and checks-and-balances later. We should, as a music community, be pleased festivals are expanding and flourishing. I wonder whether streaming sites are contributing to the profitability of the biggest festivals. We all are aware of the headline acts but many are attending festivals because of the minor acts – many of whom they would only come into contact with via streaming sites. Even though there are ethical discussions around streaming services; one cannot quibble with the fact it is putting more music into the masses’ hands.

For many, who cannot get to a new band’s gigs, they will often go onto sites like SoundCloud and Spotify and find their music. A few of the issues with physical formats comes down to availability, cost and choice. I have often gone into a record store, looking for a particular album, and find myself empty-handed. High-street stores are struggling with rent prices: meaning stores are smaller and more compact. Many shops have to stock records that fit into the ethos and ‘personality’ of a town and, because of that, it is only the biggest stores that provide a pragmatic choice of music. When you get to these shops; one finds them crowded and the prices a little unreasonable. A study has shown how vinyl sales are increasing at the moment. This is wonderful but, if one actually looks at the price of an L.P., it can be quite galling. C.D.s are a more affordable option but are still putting a lot of people off. Because of this, many are using streaming services and getting as much music as they can – often without having to pay much. It is the availability and selection of music one gets – through digital stores – that attracts so many. I can get a brand-new album without having to pay too much (I subscribe to Spotify) and can find any classic album without having to traipse around and wait. The more we have at our fingertips; the more curious we will be. I have found so many great new artists through the Internet. Many people are discovering music they would not usually know about. It is this serendipity that is seeing, not only artists find success – and get added to festival bills – but drawing more people in. Live music is burgeoning in one area but, in another, there are real cracks and doubts forming.

SMALL VENUES IN DECLINE?

The money being spent on small venues is becoming less and less - those with a capacity of less than 1,500 are in real danger it seems. The fact, in some areas, we are seeing fewer venues close does not reflect a national issue. London’s Astoria and The Boardwalk in Sheffield are two venues that have closed their doors in recent years. I wonder why there is such an explosion for festivals – contrasted against the shaky nature of the smaller venues. Perhaps it is the sort of acts who play festivals that are drawing people in. Although, as most festivals are annual; there is going to be that need and sense of release - waiting a year for something extraordinary to come along. Small venues are open most nights and it can be hard constantly pulling people in. We know we’re becoming a more ‘indoor’ society. Folk are staying in more and not enjoying music venues as much as they once did. A lot of artists are scaling-back European tours because (many) have to apply for visas and £1,000 ‘carnet’ documents – temporary import/export agreements – so they can transport equipment across borders. Brexit might mean fewer European artists are coming to play small venues around the U.K.

PHOTO CREDIT: Sandie Levent

A single visa would limit the issue but, until we know about the details of Brexit; what will be the fate of our small venues? There is a fear many acts are willing to play these spaces but the public is not quite as eager. Perhaps there is less disposable income – the cost of living is tightening their budgets – but, more likely, people are getting their new music from streaming sites. It was the case, a while back, before these sites, people would go to gigs to discover new artists. Rather than see a new band/artist play; go and find their music online: now, people are discovering them online and, in a lot of cases, not feeling it necessary to see them perform. For a lot of musicians; the smaller venues are their way of getting music heard – it compromises the future of live music is we do not provide it necessary loyalty and love.

It is hard to take the news of festival boom with anything other than caution and pragmatism. Right now, there are a lot more tourists attending festivals and embracing live music. Events like Glastonbury – Reading and Leeds coming up – have brought the crowds together and shown there are few nations that put on a music festival quite like us. It is clear the summer festivals are going to bring in people from all around. This is good news because, in past years, we have seen smaller festivals end – through lack of demand and financing. This turnaround could revive some festivals and create new ones. Glastonbury is on a break next year: there is a fantastic opportunity to fill the void and provide the June gig-goers a great alternative. There is another occurrence that threatens to undermine the industrious and elevating festival business account: the unsure fate of the small venues. In a way, in the middle of these disparate corners of music is the battle between digital music and a physical release.

Streaming is overtaking physical sales: we are entering an age where our buying habits have altered. Finance and affordability are seeing fewer people regularly attending gigs and buy C.D.s/vinyl. Divisions are occurring but there is remedy and a way to move forward. More money needs to be set aside for our smaller venues. Ensuring their sustainability is a paramount concern. Without them, there is a risk the fabric of live music will crumble. It is all well dedicating a budget to small venues but can we easily regulate the way people but their music?! So many are downloading/streaming songs for free. I read a report that underlined how many people choose to get their music for free – keep them on hard drives and websites for months/years after purchase. There is an ethical argument: should we all pay for music or not? But, in the long-term, it will hit the fortunes of new artists. Many are getting fewer gig requests and struggling to survive (with venues closing down). They need the revenue from sales. If they are denied this then that will have awful consequences for music. I am hopeful we can redress the imbalance but, as recent surveys have shown…

IT is certainly not black-and-white.

PHOTOS: Unsplash

FEATURE: Dizzee Rascal: From the Boy in da Corner to the Man in the Spotlight

FEATURE:

 

Dizzee Rascal:

  

Dizzee1.jpg

 

From the Boy in da Corner to the Man in the Spotlight

________

I can scarcely believe it has been fourteen years since…

Dizzee Rascal burst onto the scene with his stunning debut, Boy in da Corner. I have written about that previously – so shall not go into too much detail regarding that record. Earlier this year; I questioning where Dizzee had gone – not having produced an album for a few years. Low and behold (no influence on my part) he is back and, on the basis of the first couple of tracks, Raskit is going to be an emphatic return to form. Wot U Gonna Do? is the second cut to be taken from Raskit – out in a couple of weeks. It is a song that takes me back to the earliest days for the Bow maestro. Whilst the circumstances have changed since Boy in da Corner – Dizzee is thirty-two now; he is no longer the struggling kid in the manor; concerns have changed – there is no maturity and degradation when it comes to the lyrics.  One of the reasons Boy in da Corner is one of my favourite albums ever – in the top-twenty, at least – is because of the blend of amazing compositions (different genres, sounds and effects put together in a head-spinning mix) and tight, on-point lyrics. Dizzee, even as a teenager, showed a peerless and hugely intelligent approach to wordplay and lyrics. A flawless album that addressed impure women and the wars unfolding in estates; the social dislocation of the working-class and the sort of stresses and strife a typical East London boy experiences. Showtime was a worthy follow-up – if not quite as sharp – whereas Maths + English contained one of his finest hits: the frightening and intense, Sirens. I am a huge fan of Dizzee but felt he has never surpassed the splendour and unexpectedness of his debut. After Maths + English (2007); I feel the quality took a dramatic dip. By the time of The Fifth; there were too many collaborations and too many fillers. I guess the pressure and expectation foisted onto the shoulders of Dizzee was a lot to take.

I am pleased Raskit is forthcoming and, from what I have heard so far, it seems like it is the London rapper at his finest. Space, in terms of composition, certainly differs from his earlier work. Some critics felt the backdrop was not sufficiently strong to support such (typically) fiery lyrics. The four years since The Fifth has not dampened Dizzee’s lyrical gifts. In fact, it seems like he has come on strides since his previous album. The reason The Fifth gained mediocre reception was the fact too many people were involved. It got to the stage where Dizzee was hooking up with people because he had that pull and cache. His lyrics looked at estates and problems of the streets: too many songs focused on petty cussing and juvenile spats. Maybe the growing attention and celebrity meant singing about the ends; the gang battles and struggle of modern-day Britain was not a possibility. It would seem inauthentic and forced: in the same way The Streets could not talk about these things following A Grand Don’t Come for Free. I wondered whether Dizzee would be back this year: given the social discontent and political issues in the country – it seems like a perfect time for him to launch a fresh assault. If Wot U Gonna Do? is more a jab at washed-up peers and faded stars – what are they going to do when things don’t work out or the attention slips – I am optimistic we will see a lot of relevant and scathing commentary from Dizzee. I have bemoaned the lack of Urban explosion and reaction considering the time we are having at the moment. Perhaps artists are readying themselves for the attack but, over the last few months, it has been a little quiet, to say the least. The nation is divided and people and unsure where we are heading right now. Music has a reactive role and is a great way to channel those frustrations and questions into something meaningful and dramatic. I hope Raskit, in a way, returns to Boy in da Corner: offering some mature insight but possessed of that same spark that brought a young Dylan Mills to the public parapet fourteen years ago.

There is a lot of anger and uncertainty at the moment: musicians have a duty to, at least, try to translate that into something constructive and propulsive. Back in 2003, Dizzee Rascal perfectly articulated the reality and depth of the young, working-class existence – where people were overlooked by the government, for the most part. One can argue that problem is as evident fourteen years down the line. Dizzee lost a bit of his touch in the years following Boy in da Corner but that was going to happen – he could not sustain the same electricity and relevance. This is not a chance to promote an album and say it is going to define this year. I think it will, in a lot of ways, but know Dizzee Rascal’s ‘return’ – if you can call a four-year gap THAT long to consider it a departure – is as necessary and needed as anything else. Wot U Gonna Do? sounds like Dizzee as fresh and hungry as he did all those years ago. Against the tide and continuation of upheaval and unpredictability this year – the best and brightest Urban artists out there have the opportunity to lead the country; in a way the elected leaders cannot. I will be watching closely when Raskit is unveiled. Dizzee Rascal, himself, explained the album in these terms:

“The idea of trying to be my 17-year-old self again just because everyone thinks grime’s landed in their lap this week didn’t satisfy me…I wanted to use what I’ve learned to make the best rap album I could, with no hands in the air moments, just using as much English slang as I could over the best beats I could find”.

Raskit is out July 21 via Dirtee Stank Recordings/Island Records. I urge everyone snap it up and watch the Godfather of Grime show the competition how it is done. Sit back, put the record on and…

WATCH the sparks fly.

RASKIT UK TOUR

Mon 02 Oct Liverpool O2 Academy*
Tue 03 Oct Glasgow O2 Academy*
Thu 05 Oct Newcastle O2 Academy*
Fri 06 Oct Sheffield O2 Academy*
Sat 07 Oct Leeds O2 Academy*
Mon 09 Oct Norwich, Uea
Thu 12 Oct London O2 Academy Brixton*
Fri 13 Oct Cambridge Corn Exchange
Sat 14 Oct Manchester Academy
Mon 16 Oct Bristol O2 Academy*
Tue 17 Oct Nottingham Rock City
Thu 19 Oct Southend Cliffs Pavilion
Fri 20 Oct Birmingham O2 Academy*
Sat 21 Oct Brighton Dome

FEATURE: Comedy in Music: Always Look on the Bright Side of Life

FEATURE:

 

Comedy in Music:

 

IN THIS PHOTO: The Monty Python boys

 

Always Look on the Bright Side of Life

________

WHEN one is approached with a ‘comedy song’, the reaction…

IN THIS PHOTO: The Streets (Mike Skinner)

is quite ironic. People might laugh: not in the way you’d anticipate. The reason for writing this was because, in my view, comedy is feeding more into music in the current day. There are two types of 'comedy songs'. The first is a more overt and deliberate attempt at comedy - I will come to some of the acts who write comedic music soon. The second type of humour is that which is laced into serious songs – mainstream artists and new acts. I’ll take the second group first because their brand of comedy can be subtler and less obvious. I am always drawn to music that has humour in and I think we need to embrace more artists who put comedy into music. These are troubling times so we could all do with a bit of a laugh. Looking at my record collection and there are a few artists who injected some great one-liners into the music. The Smiths, despite their rather morbid and cynical world-view, were not shy to create humour and put wit into the music. Morrissey’s lyrics were frequently caustic and cutting but provide plenty of moments where the listener could not help but chuckle – or elicit a cheeky grin at the very least. I find a lot of current artists are far too serious with their music. It is understandable they’d reveal some hurt and emotion in their songs. What gets to me is the po-faced and imperious nature of music today. One occasionally hears something ribald and entertaining: those songs are often overshadowed by the very intense, straight-faced and unmoving. I look for various different things in music. For one, I want it to be interesting and have some personality. It needs to provoke certain physicality; get my mind working and dig deep into the heart. Occasionally, one needs to hear music that does all of that whilst putting a smile on the face. I will compile a list of comical songs at the end: not all of them are that good, as it happens. Artists try and write something funny; it can come off as a bit of a parody or juvenile. Those songs are best avoided but do, at the very least, try to be amusing.

IN THIS PHOTO: The Smiths

Going into music is a nervous and unpredictable time. You begin and assume it will be easy-going. It takes a lot of graft and passion to make things work – a lot of artists struggle and never get the recognition they deserve. Are musicians, given the perils and realities of the industry, going to write songs that try to be funny? Well, perhaps not but, even when writing about love and your own self; the lyrics can be funny and entertaining. Take an artist like The Streets (Mike Skinner). His humour was laddish and observational. He wrote about the realities of modern life on albums like A Grand Don’t Come for Free and Original Pirate Material. Straight from the off (the latter); he ensured his songs had that balance of serious and humorous. I listen to songs like Don’t Mug Yourself (Original Pirate Material) and Fit but You Know It (A Grand Don’t Come for Free) and are hooked by Skinner’s wordplay and wit. It is sad he is not producing music anymore but definitely inspired legions of British Hip-Hop/Rap artists to follow in his footsteps. Dizzee Rascal is probably the most relevant contemporary: a man who can bite and spit but pen a pretty good gag here and there. I find a lot of genres are humourless and stringently serious. Take another The Streets song, The Irony of It All, and it pits a lovable weed-smoking intellectual with a loutish beer-guzzler. The former indulges in cannabis but provides no danger to the community: the latter, gets tanked-up and creates chaos. The song looks at how the drunkard pays his taxes and shouldn’t be giving his money to a drug-taker – in return, facts are laid out (more money spent on treating drunks than most things). It is a really great song that, in lesser hands, could be a drag but is lifted by a sharp and witty pen. It is not a surprise some of my favourite albums ever are notable because of their lightness and accessibility.

IN THIS PHOTO: Steely Dan

The Streets’ Original Pirate Material is in there; The Smiths’ The Queen Is Dead – Steely Dan’s back catalogue features heavily. Pretzel Logic, an album I have had on-repeat for days, is, at times, a comedy routine from Donald Fagen. Maybe is more a smart-ass laconic sense of humour but the stomach is definitely given a good workout. I must admit; as said, some of the attempts at humour can be quite misjudged and tragic. There is that danger of creating a novelty song. We all remember (vaguely) artists like Afroman and his drugs paen – a song that was funny in places but not one of the best comedy songs. The main reason for addressing humour in music is to nod to those who deliberately tried to write comedy. My first real exposure to comedy records was Monty Python Sings. That album, released in 1989, brought together the collected songs of the legendary comedy troupe – from their first series to their final film, The Meaning of Life (1983). There are some classic moments that we all know – Always Look on the Bright Side of Life; Lumberjack Song and Every Sperm Is Sacred. Sure, there are skits and moments that have not aged too well but, considering a lot of these songs were written nearly forty years ago; it is amazing they have endured the way they have. I was never a big fan of the T.V. series the Pythons did: the films seemed more consistent and digestible. It is the songs of Monty Python that I keep revisiting. You do not need the sketches/scenes to contextualise the music. The songs stand on their own and elicit plenty of gold. “Weird Al” Yankovic introduced his debut album in 1983, and with it, a plethora of delightful parodies. His talent, as it continues today, is to take famous songs and provide a comedic take on them – the likes of Madonna, Michael Jackson and The Kinks were all in the firing line. Off the Deep End (the cover was a spoof take on Nirvana’s Nevermind) had plenty of great moments and gained a lot of respect from critics – even if some weren’t overly-kind at the time.

IN THIS PHOTO: "Weird Al" Yankovic

The best of the bunch, when it comes to comedic music, is Flight of the Conchords. They say, as it is told, they’re New Zealand’s 'fourth-best Folk parody group'. Dubbed, without much competition one would think, New Zealand’s best novelty group – it consists comic writers/actors Brett McKenzie and Jermaine Clement. They started their Folk incarnation in the late-1990s and, since, have gained celebrity status. The duo started on BBC radio in a series that was largely improvised – their search for fame in London. The bumbling, ever-hopeful Kiwis came to the airwaves in 2004 before (the show/concept) Flight of the Conchords transitioned to T.V. in 2007. The HBO series was similar to the radio show: the duo was in New York (rather than London) but everything else was the same. Rhys Darby played the band’s hapless manager, Murray. Episodes revolved around the duo trying to get gigs – having to take demeaning, mundane jobs to exist in the city – and, inevitably, failing – often having to play really crappy venues and spots. It is quite tragic in places but elevated by some incredible writing and consistently charming performances. It is the music that, no surprise, makes the show. Flight of the Conchords is not a vehicle for two comedians to ‘try their hand at music’. McKenzie and Clement are skilful musicians and singers in their own right: it provided the show some authenticity and naturalness. The duo’s eponymous album, and their finest achievement, is a collection of the songs used during the first series of Flight of the Conchords. Many of the songs were written years before – starting on the radio show, in fact. Because of that; they are honed, chiselled and perfectly delivered. Like Monty Python: one does not need to be familiar with the T.V. show to understand the songs and find them appealing. The best songs from the album – Business Time, Inner City Pressure; Ladies of the World and The Most Beautiful Girl (In the Room) – demand repeated listens and are among the funniest songs you’ll hear.

IN THIS PHOTO: Flight of the Conchords

The guys’ second album, I Told You I Was Freaky, was released after the second series and, because of the short time between series and demand to write new songs, the quality is not as prevalent as the debut. The debut resonates because the songs had years to gestate. The sophomore album, that said, has some great moments and shows huge musical depth. Carol Brown parodies Paul Simon’s 50 Ways to Leave Your Lover but has gorgeous (female) choirs; some beautiful finger-picking and a stunning melody. Too Many Dicks (On the Dance Floor) a club banger in the style of Black Eyed Peas – where the guys examine the male-female ratio in the club; the fact there is too many dudes present. Sugarlumps, as title suggests, is a spoof of, again, Black Eyed Peas – and their song, My Humps. Even trashy Dance-style songs are elevated to something magnificent by the New Zealand duo. On their eponymous debut; you bond with the music as easily as the lyrics themselves. Inner City Pressure knowledgeable and respectful plays with West End Girls (Pet Shop Boys); Boom, a take on Shaggy’s Dancehall songs; Business Time, a cross between Barry White and Prince, oddly. Let’s hope, as has been rumoured, there is a Flight of the Conchords film. The boys are busy with other acting work but have had time to craft some new tracks. I feel there is a genuine vacuum that needs to be filled. Of course, ‘comedy’ songs will never rival more-serious tracks – in terms of quality and mass appeal – but, as shown, there are artists who sprinkle humour alongside emotion and vulnerability. I feel we all need a bit of cheer and uplift right now. Conventional music is a bit hit-and-miss when it comes to delivering mirth and chuckle. As I spin Inner City Pressure - once more, for the road! - and Clement’s woes: “The manager, Bevan, starts to abuse me/Hey man, I just want some Muesli!”; McKenzie’s spot-on observations: “No one cares, no one sympathises/You just stay home and play synthesisers” – it has lifted my mood and, consequently, my outlook on the day. Not all comedic songs do that but, in the case of the Kiwi Folk legends, songs like that…

DO the job pretty well!

FEATURE: Pride: In the Name of…

FEATURE:

 

Pride:

 

 

 In the Name of…

________

IT is hard to believe it has been fifty years since…

PHOTO CREDIT: Katy Blackwood

homosexuality was decimalised. In fact, scrub that - quite an odd opening line, that one! What I mean is it is baffling homosexuality was ever illegal to begin with. I am glad we are in more civilised times and people are coming together to celebrate that anniversary. London has been lit up but a festival of colour and love: the two-day Pride festival has got underway in emphatic style! The event, in fact, started late last month but the major events have taken place today. Tomorrow is the final day of Pride: a chance for people to take to the capital’s streets and show their support. You can look at the official website and keep abreast of all the happenings. I have a musician friend who is involved with a charity single – all proceeds go to Pride in London. You can access it here - because, not only it is a fantastic song, but one that generates awareness and vital funds. If the past few months have taught us anything is how strong we are together. There have been events and tragedies that could have dragged us down and divided the nation. Instead, against the tide of fear and uncertainty, has been a relentless campaign of unity and positivity. We are a nation peerless when it comes to unifying and battling things/people who try and forge cracks. Right now, London is still buzzing from a day of music, marches and events. The people have come out in droves and, through performances, discussions and socialising, raised awareness of the L.G.B.T.Q. movement and marked a very special day. I know there is oppression and discrimination still – one wonders whether the L.G.B.T.Q. community will ever be truly accepted – but we have progressed from those dark days of the 1960s – when one could be arrested and imprisoned for expressing their human right: to love whoever they want.

Tomorrow will be an important and memorable day. The final chance, this year, to show your support and, quite literally, your colours. It is heartening seeing the thousands painted and daubed with variegation and vividness. The smiles have been on faces and a mystic cheer in the air. It is rare to see that happen in London – making it a shame things have to end – but it is just what the people need. Lest we forget those who fought for years to legalise homosexuality in this country. It was a long and hard fight but, fifty years down the line, we can remember them and know their struggle was not in vain. I know musicians who are homosexual and, even in 2017, there is that feeling they are not as accepted and comfortable as they’d like to me – a certain stigma still attached to having a lifestyle many feel it ‘strange’. Love of all types is beautiful so, God knows why, homosexuality was ever seen as sinful, immoral or wrong. I suppose those sort of narrow-minded people were a product of the times they lived in – generations who knew no different and were brought up to believe scurrilous ‘facts’. Those in the L.G.B.T.Q. community are among the warmest and most loving people you’ll ever meet: denying them a fundamental right, as I said, is criminal in itself. That is why this weekend – and today especially – have been so important. Most of the year, many do not see the realities of being homosexual. Many people are judged, sneered at and made to feel like second-class citizens – simply because their sexual orientation does not fit in with what is seen as ‘normal’. Even, in 2017, we are seeing some disturbing and prehistoric ideologies rearing their foul head. One hopes festivals like Pride make people think twice and makes real changes. We have come a long way in the past five decades but there is still work to be done. Like women in music; many musicians of the L.G.B.T.Q. community are afflicted with stigma and anxiety. It is not right but I am confident effective progressions are being felt. In honour of Pride – and marking the end of a rather special day – I have collated a playlist of, I think, the biggest ‘gay anthems’ and Pride-appropriate songs from across the ages.

Enjoy…

FEATURE: Sexism and Misogyny in Music: Time for Changes

FEATURE:

 

Sexism and Misogyny in Music:

 

 PHOTO CREDIT: Unsplash

  Time for Changes

________

THERE are two things I want to concentrate on tonight.

IN THIS PHOTO: Punk band, The Dickies

The first, as you will see, is quite weighty and serious: the second is a nod to the Bella Union label – which is twenty-years-old. I will come to that soon but, before then, something has reared its head. A music friend of mine – who works down in Brighton – has set up a Facebook group for promoters; essentially, ensuring bands who promote intimidation and fear are not given the oxygen of publicity and performance opportunities. This piece, and her group, to an extent, stemmed from an incident that occurred at a performance by the Punk band The Dickies. Frontman Leonard Graves Phillips, during the Warped Tour, directed a tirade against a young woman in the audience. There has been, in fact, an article published in LA Weekly that gives two sides to the debate. There are those in one camp – the older men who feel the ‘Punk Spirit’ is perfectly defined by such offensive and ill-judged verbal barrages – and those, quite rightly, who has taken umbrage at the attack. I believe the woman in the crowd was a friend of the band but, whether she agreed to be disparaged and belittled during that gig – does that send out a positive message?! Of course not! Even if Punk, which it doesn’t, depends on a certain amount of shock and disgust: where do we draw the lines and how far can we go?! I am all for music having some unpredictability and controversy. I am all for bands having a political motive and speaking out against corruptness and those who do not protect the needs of the masses. Artists might have a particular affection for environmentalism and conservation – that is impressive and commendable. So long as, playing devil’s advocate here, these subjects are not forced down the collective gullet – would one ever temporise and deter artists from having a voice?! I would say not. It is prudent musicians are not reserved to talking about music and being confined. So many artists are calculated, scared and confined to boxes – made to talk about their material and reluctant to have any ideas that might cause discussion.

PHOTO CREDIT: Ebru Yildi/IN THIS PHOTO: PWR BTTM

I am not saying every musician should say whatever they want but there need to be lines drawn and barriers opened – certain mouths need to be stapled shut, it seems! LA Weekly went on to offer some exposition and explanation:

“I consider myself a feminist (the piece was written by Lina Lecaro) and I think, in theory, that the idea of Safer Scenes is good and needed. But you can’t expect the people you oppose to take the higher ground if you don’t take it yourself. (We should all keep this in mind every time we insult Trump; we should focus on his shitty policies, not his bad hair, weight or orange-ness.) Safer Spaces is on the Warped Tour, with an info booth, to provide dialogue identifying, preventing and addressing sexual harassment and violence, racism and ableism at the festival. This should be done with positivity and some semblance of the respect they are fighting for”.

As a feminist; there would be easy temptation dangling from the tree in the Garden of Eden: attack Graves Phillips and his ‘publicity stunt’ and not provide any sort of balance. Lecaro went on to say:

“Actors don’t perform in blackface anymore. Rock stars don’t have sex with 13-year-old groupies anymore. Punks don’t wear Nazi regalia anymore. What’s acceptable culturally changes over time, and our entertainment reflects this. Those of us living through these transitions may find it more challenging to accept, but we need to try…At the heart of the present moment's transition is a simple truth, one that today's kids seem to grasp intuitively: If you’re not, for example, black, you will never really know what it’s like to be black, or know how certain trigger words feel when they’re uttered in your presence. Never. Same for women: If you don't have a vagina, you don’t know. (OK, dudes?) All that any of us can do is accept that we don’t really get it and respect others when they tell us this is so”.

IN THIS PHOTO: Eagles of Death Metal's Jesse Hughes

It is a fascinating piece and one that is delivered with maturity, candidness and consideration. As a man – and a lover of the rebels of Punk – there would be the temptation for me to say this is a one-off event and there should not be such a sensitive reaction and sense of outrage. The problem is this: it is not a one-off occurrence and it is getting worse. Artists/bands including Moose Blood, The King Blues and PWR BTTM have caused shockwaves - the sexual misconduct/allegations that were levied at, especially, members of Moose Blood and PWR BTTM, were truly shocking. I remember when PWR BTTM were accused of sexual assault - and found promoters and venues cancelling their shows through fears of uprising and protest. I know there are many who say Punk has always been associated with these kinds of issues – why make such a furore of it?! Back in the 1970s, bands like Sex Pistols would spout off and create a storm – often voicing their disapproval of the monarchy – and modern bands talk vociferously about the government and society. If it is ‘okay’ for them to show little discretion towards these issues then why should we be so protective and disgusted about sexism?! The sort of (crude) language and vulgarity Leonard Graves Phillips spewed during that set has reverberated through the music community and seen a lot of people speak out. It does not surprise me legendary bell-ends like Jesse Hughes (Eagles of Death Metal) offer his support to Graves Phillips. Consider the things he said about the Bataclan attacks – conspiracy theories regarding the security guards being involved – his views are not only predictable but completely insane. There are others, on social media, who have backed Graves Phillips and undermined the argument. They say people should get over it and, in the grand scheme of things; it is not such a big deal. If you heard this kind of thing on the street; would you shrug it off and forgive the culpable party?! You would, I hope, be offended and inculpate the offender – knowing they had done wrong and carried around tired and Neolithic attitudes. We are, I believe, in 2017 and know a lot better than previous generations. We cannot, without seeming idiotic, claim to be progressive and evolved when we allow, supposedly mature and intelligent adults, forum to promulgate such hideous ideals.

IN THIS PHOTO: U.S. journalist and D.J., Lina Lecaro

As a male journalist, I think it is important many more men express their disapproval and anger. It is great there is, for the most part, the right reaction to this event. We do not want children growing up thinking such things are commonplace and acceptable. Yes, there are a few isolated incidences but the fact there have been a few within a short space is worrying. If we had female artists saying sexist things you know the media would eat them alive – men would come out and take them to task. It seems the male writers and peers are not as loud and noticeable when it comes to tackling this issue. Maybe I am wrong but it would be nice to see more support from the boys. The Dwarves are another band who have opened their odious mouths and not engaged their peanut-sized brains. It is men creating the issue: my gender should do everything they can to eradicate such obstreperous and vile musicians. The music industry, as it should be, promotes love, togetherness and acceptance. Recent events like Grenfell – and the awful fire that engulfed the tower – have seen musicians come out in force and voice their opinions of the government – bringing love to the debate. The fact so many artists got together and did fundraisers; joined together and did all they could was very heartening. That is the positive and extraordinary side of music: when great people go the extra mile and try to make things better. The other side of the coin is tarnished and rusty: it is less severe and prevalent than the positive but leaves a very nasty aftertaste. I, like many, do not accept sexist and ‘male attitudes to women are not natural parts of a genre. Punk is all about free expression and an irascible spit. Going back to that LA Weekly article and a particular paragraph stood out:

“While nobody can define “punk" right now, we can probably all agree that it's a form of expression that came as a reaction to close-minded people imposing their views on others, right? If this is so, then the way it's delivered will have to change with the times, whether purists or old-schoolers like it or not. If that means my daughter feels more comfortable at a punk show when she's a teenager than I did, great. If it doesn't, I think she'll be OK, too”.

IN THIS PHOTO: Moose Blood, whose drummer, Glenn Harvey, was accused of sexual harassment

Maybe there is that generational argument: those who grew up where this kind of controversy was more common and more acceptable; those, now, who expect better standards from musicians and know it is not part-and-parcel of the modern age. Regardless of your age, upbringing and expectations; we cannot allow mealy-mouthed, black-souled sermons to be seen as ‘alright’ and impressive. Those who have stood in support of this sexism and offence are not people you’d expect to have a strong moral compass and be ambassadors of a purer society – making their idiotic opinions null and pathetic. It all comes down to how important music is and what legacy we want to leave for the generation. As I said; I think musicians shouldn’t be robotic soundbites who are puppets of the record label – speaking in clichés and making sure their answers as vanilla and safe as can be. We would be taking liberties – and denying basic human rights – were we to muzzle all artists. As a consequence of The Dickies’ controversy; they have had gigs pulled – included one scheduled in Leicester at The Musician. The promoters there felt the misogyny and crudeness displayed by The Dickies’ musician was unacceptable. That is the lesson for musicians: you think you have the right to descend to the level of the caveman and you will find yourself at the mercy of the Sabretooth Tiger – and get your head the f*ck bitten off! I’ll close this down now but wanted to bring to light a shade that is threatening to tarnish music’s good name. In the past, I have written extensively about sexism and how female artists are not given headline slots – fewer chances than the men and made to feel, by comparison, meagre and inferior. This hardly helps and leads me to think a major overhaul needs to happen. It is clear the kind of people perpetuating such sexist and old-fashioned ideals: the white middle-aged men. That is not true of ALL injustices but there is a clear pattern. Sure, certain Hip-Hop/Rap artists – among many other artists – have always been associated with a casual attitude to gender rights, sexism and decency.

PHOTO CREDIT: Unsplash

We cannot label a particular group and say it is the sole responsibility of the middle-aged man to correct their minds and come into the modern age. Sexism and misogyny extend across genres, nations and age ranges – it not confined to niche demographics and types of music. That might sound worrying on paper – like a plague spreading without abatement and cure – but it is not an unwinnable war. There needs to be education and outrage. If bands like The Dickies think it is acceptable to casually shoot off offensive insults and degrade a female gig-goer then their punishment, like gigs being pulled and widespread condemnation, should compel them to take stock and sober-up. I worry there will be those reluctant and rigidly hanging onto their beliefs: why should we change who we are and be tamed?! I have mentioned a few bands who have been accused of sexism but we cannot simply race to decry and band all of them – there needs to be constructive debates and decrees. Simply prohibiting all of them from touring would not be the right way to do things – not ever member of each band support their guilty member(s) and can be tarred with the same reputation. What we do need to do is, when certain artists create storms and problems, act swiftly and set examples. The harsher and, in fact, fairer the repercussions are, the less likely we are to see repeat offences. This should extend to racism and every type of similar offence. Sexism and misogyny are, essentially, a form of harassment. It is not acceptable for people to do this in society so why should we be more relaxed with musicians? I know it is hard determining boundaries (of) freedom of speech. If we reign-in bands like The Dickies, does that mean we are saying ALL musicians should be monitored? It is hard to police but it is clear the recent sexist/misogynistic happenings are completely unacceptable. Whether you are a Punk band of rebels or a stone-cold Hip-Hop stud: never should you demean a woman or think misogyny is ‘cool’ and necessary. It is 2017, guys, so, with that in mind, let’s, please…

PHOTO CREDIT: Shutterstock

GROW the hell up!

FEATURE: Bella Union: Twenty Years of Music Gold

FEATURE:

 

Bella Union:

 

  

Twenty Years of Music Gold

________

I was, as I do most days, listening to BBC Radio 6 Music today and…

IN THIS PHOTO: Bella Union head, Simon Raymonde

heard an interview with Simon Raymonde. He was a member of Cocteau Twins between 1983 and 1997 and, after the breakup of the band, set up the Bella Union label. Listening to Lauren Laverne interview label boss Raymonde talk about the gestation and creation of Bella Union got me thinking – how many great artists are signed to them. In fact, following releases on the 4AD label - for most of their career - Cocteau Twins set up Bella Union – it wa spearheaded by Raymonde and Robin Guthrie. Dirty Three, the Australian band, were one of the earliest acts to sign up – the label features everyone from John Grant to Laura Veirs. Listening to that interview, just now, and I understand John Grant, when he first sent demos. to Raymonde, was not considered that good. He was in the band The Czars and took time to forge a sound that was approved of – I think it took nine months of back-and-forth submissions for Raymonde to fall for his charms. Raymonde has been in sole charge since 2000 and has steered and evolved one of the most reputable labels in the world. Fleet Foxes, in 2008 and 2009, remained in the charts for one-hundred weeks and had the biggest-selling independent album of the year. John Grant is a huge success story and one of the biggest name tied to Bella Union. Mercury Rev, The Low Anthem and Jambinai are a sprinkling (among a deluge) of stunning artists who have helped propel and cement the reputation of Bella Union. They won Independent Record Company of the Year in 2010, 2012; 2014 and 2016 – in 2014, John Grant was nominated for a BRIT Award; Holly Macve, the Yorkshire-born singer, was signed in 2015; Father John Misty was nominated for a BRIT – another mainstream act who is happy and proud to be with the label. In honour of twenty years of sterling service; I have collated a playlist of the Bella Union artists who have made Simon Raymonde’s stable…

IN THIS PHOTO: John Grant

SUCH an impressive one.

FEATURE: Björk: Debut Gold and Post-Partum Progression

FEATURE:

 

Björk:

 

 

 Debut Gold and Post-Partum Progression

________

THERE are few artists who have made as big a contribution to...

The album cover for Björk's sophomore effort, Post

The album cover for Björk's sophomore effort, Post

modern music as Björk. In terms of innovation and reinvention; none match her sense of style, impact and wonder. This year (in July) it will be twenty-four years since Debut – strangely, not her debut album – was released. From the opening notes of Human Behaviour – the first track from the L.P. – you know something special is happening. The strange and bellicose percussion; the experimentation and odd sounds – all elevated by a unique and otherworldly vocal. When I first heard that album - I must have been ten at the time – it was like stepping onto another planet. Nobody like Björk had made its way to my ears: there has been nothing quite like her since. Sure, artists like Kate Bush may have inspired her vocal approach and style of songwriting – that is the only other artist I can think of. What amazes me about Debut is the sheer confidence that runs through it.

PHOTO CREDIT: Jean-Baptiste Mondino

PHOTO CREDIT: Jean-Baptiste Mondino

Produced with Nellee Hooper; it is an album that bristles with passion, storybook fantasy and intensity. Venus as a Boy is beguiling and flowing; Big Time Sensuality feverish and emphatic; There’s More to Life Than This intimate and atmospheric – the fact it was recorded at the Milk Bar toilets gave it a certain ‘gravitas’ and unusualness. There are fans/critics who think Björk made a better record but I am not so sure. Taking this position suggests everything that followed Debut was inferior but that is not the case. Post, the sophomore album, is more varied and confident than Debut but I will always hold Björk’s first album as her finest. I get sucked into the record and everything unfolding. Even then, at such a young age, the Icelandic legend was taking charge of the songwriting and ensuring as few hands as possible was in the mix. That is a lesson for songwriters in today’s market: look at what can be achieved when you assume control and create a singular listening experience. Maybe contemporary artists do not have the same vision and talent as Björk - but too many rely on other producers/writers to help them achieve their sound.

The cover to Björk's 1993 introduction, Debut

The cover to Björk's 1993 introduction, Debut

Debut is an album that, yes, has a few minor songs – One Day and The Anchor Song do not get mentioned often – but they are still fantastic tracks. The entire album makes a huge impact and shows what Björk is one of the most enduring and respected artists of the past twenty-five years. Following on from Debut was 1995’s Post. THIS is the album you’ll see on the critics’ best-of-the-best lists and always gets people talking. From its beautiful and striking cover to its brilliant videos – the promotional for It’s Oh So Quiet is especially memorable – you felt an artist growing and increasing her confidence. Not that she was lacking on Debut but, on Post, the songs were bigger, kaleidoscopic and diverse – everything from tender and child-like (Isobel) to domineering and machine-like (Army of Me). A few writers do make their way onto the album but, for the most part, it is Björk at her purest and most widescreen. There are a couple of weaker tracks but, like her debut, the sheer brilliance and quality that runs throughout compensates.

Another magnificent album that brought in new instruments, soundscapes and ideas. That is why Björk remains unique but compels so many young songwriters: those cinematic and evocative scores; the way she weaved her vocals and creates something physical and spiritual. Skewed, peculiar – yet always accessible and inviting – it meant Post gained huge critical acclaim and saw Björk elevated to the public bosom. It was another two years before Homogenic arrived. That album was a salute to her home country of Iceland – despite the fact it was recorded in Spain. Homogenic has glacial strings and lava-warm pulses: the innocence of childhood and the fears of adulthood. It is a spectacular album that does not repeat previous works.

The striking cover for Björk's 1997 album, Homogenic

The striking cover for Björk's 1997 album, Homogenic

Artists in her position could easily have replicated themselves and done something quite familiar. Homogenic retained Björk’s distinct vocals and pioneering compositions but walked into new territory. Perhaps icier and more simplistic than previous work – Björk wanted a single sound and something quite pure – it contains few sweet and Pop-like numbers. Anyone expecting bombast and big anthems would have been a little disappointed. An album dedicated to Iceland would, naturally, have some cheerier moments and optimism. That was not what Homogenic was about. Björk wanted to try something new and go back, sonically, where she started her life. It is another bold move and spectacular album that, in lesser hands, could have been a disaster. Critics were welcoming and impressed by the album. Rather than hark back to Debut and Post; they found much to admire in Homogenic. Some felt Björk would never equal and album as groundbreaking and astonishing as Homogenic. A daunting gauntlet and proclamation for an artist to hear: it did not phase Björk – she went on to create many more astonishing albums and, in many respects, did not need to top Homogenic. It is a singular creation that showed a very special side to her.

Medúlla, in 2004, was a huge success for the Icelandic star

Medúlla, in 2004, was a huge success for the Icelandic star

Later albums, Vespertine and Medúlla arrived in the early-mid-2000s and carried on that legacy of wonderment and brilliance. Those albums, more in common with Homogenic than her earlier material, gained huge plaudits from the critics. Vespertine, especially, was seen as one of the finest albums of the '00s and a mature work – from an artist able to project eccentricity and excitement without seeming undisciplined and unfocused. That balance of maturity and youth – sounding grown-up without appearing old – was a bold move from someone renowned for her captivating energy and experimentation. This phase of career - compared to the Debut-Post regency - signalled new endeavours and mood – a woman wanting to compel in silence; little need to overwhelm the senses with sound and histrionics. Not that her early albums were over-emotive and reckless – this was Björk more settled, at peace and, dare one say, better?!

Björk's 2001's, critically acclaimed album, Vespertine

Björk's 2001's, critically acclaimed album, Vespertine

That is a claim shared by many critics at the time. Vespertine shot to the top of many critical lists – some put it among the top-five albums of the decade (as it was released in 2001, these were retrospective lists). Medúlla (released in 2004) was less glacial and demure than its predecessor. It reignited some of the joy one experienced (last) on Post. Not that it was a complete return to her previous days – a way to tie some of her older sounds with new discoveries. Volta arrived in 2007 and, forged a balance between her Pop-sounding work of the '90s with her experimental music of the '00s. It was embraced by critics but some were unsure whether it was as coherent as striking as it could be - a bit messy in places and not what we would expect from someone so spectacular. Björk wanted the album to be a lot more 'up' and propulsive than her previous two albums - that need to create something fun. Almost a return to Debut and Post: Volta encapsulated that early energy and youthfulness. Perhaps those albums captured a time and were part of a 'phase' for Björk - some were not ready for a return to that sound. Regardless; tracks like Earth Intruders and The Dull Flame of Desire have a unique eccentricity that one could not help fall for.

Björk, during the promotional campaign for Volta

Björk, during the promotional campaign for Volta

If anything, her two most-recent albums – 2011’s Biophilia and 2015’s Vulnicura – pushed Björk’s music AGAIN. Biophilia composed the album as a concept – during the 2008-2011 Icelandic financial crisis. The album explores ties between nature, music and technology. It was the first ‘app. album’ and was released as a multimedia project – linking the album’s themes to musicology projects.

That was followed by educational workshops in four continents. Not only did Björk create a unique promotional campaign but was determined to educate and bring vital lessons to people. Biophilia, in parts a musical experience; in others, an educational lecture. The music contained astronomy, apocalypse and oddity. Björk created her own sound and (a record) part-spacey and detached; part-focused and human. Critics were not as hot on this album as previous but recognised Björk’s ever-continuing desire to change music and push sound to new limits. Few artists take the trouble to redesign and reinvent music. Many, who might have lost some affection for the Icelandic treasure on Biophilia, were back on board for Vulnicura. Many proclaimed it her boldest and best work in a decade: stylistically similar to Homogenic and expansive – daring and challenging as she was on her debut.

Biophilia saw Björk embrace new technologies to create her sound

Biophilia saw Björk embrace new technologies to create her sound

It has been two years since her last album but, one suspects, Björk will be back in action very soon! As you can tell from that rundown, and hear from the playlist below, she is someone constantly evolving and surprising the people. Twenty-four years from her debut release; there is a fondness and love for Björk I have not seen in other artists – that constant support and affection. In fact, it is more respect: a woman who speaks out against sexism and proves she is more than a match for any of her male peers. On that note; I have been lobbying, like many, for women to take the headline spots at our biggest festivals. It seems only natural, when Glastonbury returns in two years, Björk is considered as a headliner. Given the impact she has made on music – and the legions of musicians inspired by her – how could she not warrant a top slot?! She would put on an epic and mind-melting production that is for sure. I am surprised she was not approached this year: a Sunday night closer from Björk would have been spectacular. I wanted to concentrate on Björk’s music career – she is someone who engages in politics; is a talented author and a bit of a polymath. Whether you bond with her music or not: there is no doubting the influence and talent of Björk.

She remains of the most spectacular and intriguing talents in all of music. I am excited to see what the next few years hold and whether we will see more material. If/when that does happen; one has to ask what shape it will take? Given the way she has embraced technology – transforming her music through it – will her next album be an ultra-modern technological and digital exploration?! Perhaps she will subvert expectation and release something left-field (even more so than usual!) or return to her roots. We could see a Folk album or something entirely instrumental. Who knows with Björk – that is the great thing about her. I look at musicians one would consider ‘unique’ – in the truest and most unquestioning sense – and would put Björk alongside the likes of Kate Bush and Bob Dylan. She is THAT special – long may she continue to reign! Listening to her music is like steeping into another world. One is, at first, wary but embraced the quirkiness, evocativeness and beauty. When all is said and done it is a…

Björk's latest album, Vulnicura, arrived in 2015

Björk's latest album, Vulnicura, arrived in 2015

GREAT place to be.